The Sky's Gone Out - Dark Publications

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Similar Items:

•	Burning from the Inside
•	Mask
•	In the Flat Field
•	Go Away White
•	Press the Eject and Give Me the Tape

Editorial Reviews:

Album Description
Third full-length, originally released in 1982, and their first for A&M in the States. Opening with a shredding run through the Brian Eno track "Third Uncle", featuring some of Daniel Ash's most thrilling guitar work and Peter Murphy's strongest lyrical content yet. Limited edition.

Album Details
Canadian Version featuring a Different Cover from the USA Version

Customer Reviews: Read 13 more reviews...

5 out of 5 stars

An album that should not be overlooked... April 30, 2000
14 out of 14 found this review helpful

The usual gripe that people have with this album is that Bauhaus seem to be a little more self-indulgent than on previous albums. Admittedly, this album does take more patience than the first two releases, but it can be a very rewarding listen when given a chance. Songs like Third Uncle, Silent Hedges, Spirit and All We Ever Wanted Was Everything are familiar faces to most, but the album as a whole is a gem. The Three Shadows trilogy is a very dark reflection on something that has to do with fish, urine, Oedipus complexes, and fresh pink babies. A very disturbing and surreal experince. In The Night is a pretty heavy song for Bauhaus and Swing The Heartache boasts some of the strangest music Bauhaus has ever produced. The experimental Exquisite Corpse displays the band's abstract approach to songwriting and a few absurd yet wonderful lyrical passages. The aforementioned Silent Hedges has to be one of the best songs ever written about the onset of insanity and Third Uncle stomps. Spirit will make you want to jump up on the bar with a mug of ale in hand and shout "We love our audience!" again and again. Definitely recommended to anybody disgusted with the current woeful state of modern music.

5 out of 5 stars

It's my favorite album too! September 14, 2000
5 out of 5 found this review helpful

While the whole may off to some as rather inconsistent, I have to say this album is a great testament to what Bauhaus were capable of and all the possibilities of their career.
On this, we have the lightening glam-tinged rock of "third uncle" (a cover of brian eno btw), the melancholy drama of "the three shadows," or "all we ever wanted," and the bizarre experimentalism that marked just about all their work (you really must listen to the last piece).
Over all, it is an interesting album with what appears to be a theme running throughout. But then, I could be wrong. Rather sad that they were so heavily criticized in their own day. Even worse they are rarely given the credit they deserve for influencing so many and remaining so relevant. This is some great stuff.

5 out of 5 stars

"Coloured Lights Are For Christmas Trees" January 13, 2000
4 out of 4 found this review helpful

What dark cliche has NOT been leveled at these gothic godfathers of sinister shade? This album is the artistic masterpiece of the band as a full unit. It is not as gritty rusty razor blade edged as their pre-album singles, nor their debut "In the Falt Field"; it isn't as creepy as the boogey-man on tiptoes of "Mask"; and not the perfection of solo efforts-combined-to-a-band that "Burning From Inside" was (they lapsed into different drug states by that point); this album begins with the amputee-themed burn-me-again Eno cover of "Third Uncle", and simply doesn't let up for the duration of the side (side? yes, Virginia, this was an "album"). With features like Peter's voices melting black into "His wrist onto the razor slides", and the suicide-scenes of "Swing the Heartache", and a finale of the side, their ironic mantra "We love our audience" from "Spirit". Flip the side (ah, the wonders of digital technology, no sides...), and you as a listener are taken gloriously through a world of dim light and heavy shadow. Factory town seems kelidoscopic after the grim "Three Shadows". Sacrifical infants and drinking tins of piss end with the longing melancholy of "All we ever wanted was everything". `bout sums it up. Ah, yes, "Exqusite Corpse". Like the literary game of the same name, this song seems composed in secections, leaving the listener reeling by the time the band hits their jammin' stride with reggeta le bauhaus. And the added tracks on the import disc is like the tasty clean up after the fix. Music evolved a bit with this album, showing that not only psychedelic art rock can create such perfect soundscapes that draw in anyone with ears. This is Gothic music at some of its best, by its best. If goth and psychedelia were wed in some unholy matrimony, Bauhaus would be playing the wedding march. And it would be "Third Uncle". Save "Three Shadows" for the kids...

5 out of 5 stars

Expressionist Masterpiece November 10, 2003
4 out of 4 found this review helpful

I think Bauhaus(the band) became one with Bauhaus(the art school/movement) when they released The Sky's Gone Out. Tracks like "Spirit" and "The Three Shadows(I-III)" bring to mind Kurt Weill, Weimar Culture and German cabarets. The rest of the album is a smart amalgam of post-punk expressionism and good old rock n roll. Their cover of Eno's "Third Uncle" is pricless -- highly energetic and manic...a great way to start off an album such as this. "Silent Hedges" and "In The Night" take the disonant vampiric drama concepts of In The Flat Field and meld them with the ultra-slick production of Mask. And to prove that Bauhaus is not just a gloomy and detatched goth band(but a truly original and innovative rock n roll band), they serve up two diverse tracks: "All We Ever Wanted Was Everything", a rather tender and endearing ballad, and "Exquisite Corpse", a classic slice of the band's quirky sense of humour. All in all, this a great, well-balance album. It's got everything you look for when you go looking for Bauhaus.

5 out of 5 stars

Not a "greatest hit" in sight, all the better for it. April 28, 1999
3 out of 3 found this review helpful

The Sky's Gone Out is probably Bauhaus' best, though least appreciated album. The boys clearly reached their experimental peak in these recordings, a great sense of gothic elegance (not eldridge-esque sophista-spook, but a very clean, almost Miranda Sex Garden type classical/rock feel) Silent Hedges, Spirit, and the Three Shadows are total classics. (The Brian Eno cover on track 1 is quite good also) Alot of the other songs are a bit awkward (the ska riffs on exqisite corpse), but all in all, it's a wonderful album.

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